Walt Disney World Happily Ever After Animator Interview | Disney


♪ The evening star is shining bright ♪ ♪ So make a wish and hold on tight ♪ ♪ There’s magic in the air tonight ♪ ♪ And anything can happen ♪ Hi, I’m Eric Goldberg. And I’m Mark Henn. And I’m Randy Haycock. And it’s been our pleasure to
work on the brand new fireworks spectacular at Disney World, Happily Ever After. We got involved with the Happily Ever After project
through the Creative Legacy Department. They asked us to produce new animation
to be projected onto the castle, revisiting some of
our favorite characters. I got to do Ursula,
Mark got to do Tiana, and you got to do Aladdin
and Jafar snake. The castle is an environment
that the characters interact with, you know. So when I have Aladdin fighting Jafar, he’ll grab a gargoyle
and swing around it. He’ll land on balconies
and he’ll come through windows and different things like that. The snake body and Ursula’s tentacles
kind of wrapping around turrets and things that– It really interacts with the actual
architecture of the castle. I think that people will see something
really cool and different. It’s really magical. It’s pretty amazing. Well, my first year at the studio
was 1990. And my first gig at Disney Animation
was animating Genie in Aladdin. What? I started in 1992,
so I’m the youngster in the group. Aladdin was also my first film. I worked on the character of Aladdin. And you don’t have fleas. And I don’t–
And I don’t have fleas. And I don’t have fleas. Yeah, that was my big scene. [laughs]
Yeah! My star making scene. I started at Disney in 1980
and The Fox and the Hound was the first film
that I had a chance to work on. I’m having too much fun. I came in right when Glen
was working on the bear fight. So I was working with the bear
and both Todd and Copper. And that was, that was really
exciting for a young animator to come in on. Part of the charge of the,
this whole Legacy Department is to make sure that
the character they remember, they walked out of the theater with, is the same character
that they’re seeing in the parks and whatever form
that they’re appearing in. We always end our films going,
“Oh, now I know what I’m doing.” And then the movie’s over. And you seldomly ever, if ever, get a chance to go back
and revisit these characters, but a project like this has allowed us
to go back on many occasions and revisit some of these characters
or new characters. Like, you didn’t do Ursula originally. That’s right. -Originally Ursula–
-It was Ruben Aquino. Yes, he did Ursula originally. Right. And they gave me
the Ursula assignment on this. So it’s kind of like trying to
get inside of Ruben’s head. [kiss] I know for me it was fun
on this one in particular because Aladdin being my first film,
being able to come back 25 years later and work on these characters
that were my first experience at Disney, you know. And surprisingly,
it’s a little like riding a bike. Once I started drawing
the characters, I’m like, “Oh yeah, I remember this.” I’m a fast learner. [gasp] People just talk about how much
these characters mean to them. And to see them now in this new form,
in this new show, Happily Ever After, is going to continue that. Making people laugh and smile
and enjoy themselves you know, I mean, I think there’s–
there’s not a better, more noble purpose we can have in life,
I think, you know. It’s fun again. We get to revisit them
in a whole new situation, a whole new venue and– A whole new world. -A whole new world.
-A whole new world. I wasn’t going to go there, but– But of course I would. I know. [laughs]

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